Mistério na Vila

So it's a case of "is he or isn't he a murderer". Totally predictable. There is some tension which is I guess is interesting but you know at the end that the protagonist, Jacob, is in for a rough time. When it gets to the point where he is being accused of Hanne's murder it's just stupid - Hanne was screaming so you must have killed her - accusation by the police. When Jacob could easily have stated that Hanne did not want to be saved - that was just irritating beyond belief and downright lazy on the writer's/director's part. Jacob, a journalist, supposedly intelligent goes alone to us to a suspected murders house not once, not twice, not three what about five times. What also has to wonder if the police officer is dodgy or not, but that was all a bit contrived as well. Would only passible acting , I would say that this is want to miss.

I watched this movie on late night TV because Nikolaj Lie Kaas headed the cast; he is always astounding, and gives such rounded, often so-believable-it's-painful, performances. Then on to the screen walked Nicolas Bro (as Anker, the serial wedder) and I knew this would be a film worth staying up late for. Bro can walk that fine line between comfortingly believable nice guy and crazy nut job, so that one is forever questioning judgements formed about his character's true motives. His physical size alone is at once both reassuring and threatening.

There are layers to this excellent, but dark story which are still emerging for me. Kaas' character is drawn into a search for how his beloved sister, disabled from an earlier suicide attempt, could have suicided on her wedding night to the (decidedly creepy) Anker. So many times I wanted to scream at Kaas 'Go home - you really don't want to be going there!!' as he relentlessly pursued the truth about his sister's death.

I was always aware that Nikolaj Lie Kaas' parents had each suicided, and so this film would have been a necessary, and perhaps cathartic experience for him. I hadn't known that the Danes were a death-denying country, but perhaps this is a feature of all Western countries, as we go about kidding ourselves that we're happy, and that we'll surely live forever! Death and death-denial are favourite subjects of mine, so this film spoke to me at a deeper level than it may for other viewers.

Don't let the subject matter put you off. This is a truly remarkable film, and is worth seeing, just for the performances alone.

Mørke... Darkness... a movie consisting of, revolving around, set in and taking place in the cover of darkness. A movie about suicide close to you, made by probably the two most fitting people in Danish show business; Nikolaj Lie Kaas, whose mother committed suicide, and whose father drowned, in what may have been a suicide, and Jannik Johansen, whose sister committed suicide. This was a necessary film to make, for both of them. And us Danes need it too, because of the message it so beautifully communicates: we're not open enough about death. It's taboo. We don't talk about it... we just don't. And that's a mistake. As a character so perfectly says it in this film: "We don't talk about death. That's why it's so hard." The plot is brilliant. It makes sense and holds water(to some extent; it will be become clear to most viewers that Jannik Johansen chose dramatic effect over realism for some parts in the film). Also, it leaves room for Kaas' character to ponder, wonder and feel guilty. Without the internal conflict of Jakob, our main character, the film wouldn't be what it is. The pacing is absolutely perfect. I was never bored for a second. The acting is flawless. Nicolas Bro and Kaas are astounding. The characters are exceptionally well-written and credible. The dialog is great. Not one line seems contrived. It's put to great use, too; in one of the first scenes, Jakob's relationship with his sister and their mother, not to mention their(or is that... our?) relationship with death. Johansen also does a great job of underplaying cinematic effects... several scenes end with an unpleasant twist that adds something entirely new to the whole scene. The whole film through, we're delved into the mystery, not knowing who to trust, or what to think. We feel Jakob's powerlessness, his panic, and his guilt. We follow his travel into his own darkness as he unravels the truth. There are several scenes of high intensity, incredible tension and great suspense. Johansen has a tendency to draw out scenes that are in actuality quite short, and with great effect. This is, in my opinion, the greatest accomplishment in Danish cinema. I recommend this film to any fan of Danish films, thrillers and/or dramas. If you think you can take it(it's definitely not for the faint of heart), you should give it a chance. There's a big chance you'll find it every bit as deep, strong and emotionally involving as I did. 10/10

Watching "Mørke" is a tedious affair, especially given that the Danes are currently far ahead of the other Nordic countries when it comes to cinematic artistry. Why Jannik Johansen settled for such a monotonous narrative will be the actual great mystery of this film. "Mørke" is a highly generic thriller film, that doesn't even attempt at delivering some actual thrills or suspense for its viewers. The otherwise talented Nikolaj Lie Kaas seems uncomfortable venturing around the eponymous town, looking for answers to the death of his sister. While perhaps not outright uncomfortable for the audience, it definitely is a lackluster experience.

I wasn't exactly sure quite what happened in this film. The more I thought about it the more murky it got.

The film begins with some obscure quote from philosopher Albert Camus who apparently propounds the idea that the we struggle to seek meaning in a meaningless world. I assume that this was a film about assisting or facilitating suicide.

Ankers parents may have been assisted towards their demise. Anker seems compelled to help people to slip their mortal coil. But what are the chances that every young female disabled person that he meets seeks to end their own life. Or that they would all choose to marry him. Or that they would all commit suicide on their wedding day in the bath. It is so unlikely that if this did ever happen then actually they must all have been murdered.

The essential mystery is 'Did he kill them or didn't he?'.

The one person who definitely did kill someone by stabbing them was subsequently allowed to go free? I struggle to come to terms with the central absurdity of the film.

Ultimately are we supposed to believe this unlikely series of suicides or are we invited to suspect that this is serial murder.

It would have been better with only two victims instead of four. With four, the central concept collapses under the weight of improbability. Otherwise it is a well made film.